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1 изображение студийного качества
Русско-английский политехнический словарь > изображение студийного качества
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2 изображение студийного качества
Русско-английский ТВ и видео словарь > изображение студийного качества
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3 уровень качества изображения
Русско-английский словарь по информационным технологиям > уровень качества изображения
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4 изображение студийного качества
Русско-английский словарь по информационным технологиям > изображение студийного качества
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5 изображение студийного качества
1) Military: cinema-quality image2) Engineering: studio quality picture, studio-quality pictureУниверсальный русско-английский словарь > изображение студийного качества
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6 качество эталонного изображения
"живое " и опорное изображение — live and reference image
Русско-английский словарь по информационным технологиям > качество эталонного изображения
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7 Poniatoff, Alexander Mathew
[br]b. 25 March 1892 Kazan District, Russiad. 24 October 1980[br]Russian (naturalized American in 1932) electrical engineer responsible for the development of the professional tape recorder and the first commercially-successful video tape recorder (VTR).[br]Poniatoff was educated at the University of Kazan, the Imperial College in Moscow, and the Technische Hochschule in Karlsruhe, gaining degrees in mechanical and electrical engineering. He was in Germany when the First World War broke out, but he managed to escape back to Russia, where he served as an Air Force pilot with the Imperial Russian Navy. During the Russian Revolution he was a pilot with the White Russian Forces, and escaped into China in 1920; there he found work as an assistant engineer in the Shanghai Power Company. In 1927 he immigrated to the USA, becoming a US citizen in 1932. He obtained a post in the research and development department of the General Electric Company in Schenectady, New York, and later at Dalmo Victor, San Carlos, California. During the Second World War he was involved in the development of airborne radar for the US Navy.In 1944, taking his initials to form the title, Poniatoff founded the AMPEX Corporation to manufacture components for the airborne radar developed at General Electric, but in 1946 he turned to the production of audio tape recorders developed from the German wartime Telefunken Magnetophon machine (the first tape recorder in the truest sense). In this he was supported by the entertainer Bing Crosby, who needed high-quality replay facilities for broadcasting purposes, and in 1947 he was able to offer a professional-quality product and the business prospered.With the rapid post-war boom in television broadcasting in the USA, a need soon arose for a video recorder to provide "time-shifting" of live TV programmes between the different US time zones. Many companies therefore endeavoured to produce a video tape recorder (VTR) using the same single-track, fixed-head, longitudinal-scan system used for audio, but the very much higher bandwidth required involved an unacceptably high tape-speed. AMPEX attempted to solve the problem by using twelve parallel tracks and a machine was demonstrated in 1952, but it proved unsatisfactory.The development team, which included Charles Ginsburg and Ray Dolby, then devised a four-head transverse-scan system in which a quadruplex head rotating at 14,400 rpm was made to scan across the width of a 2 in. (5 cm) tape with a tape-to-head speed of the order of 160 ft/sec (about 110 mph; 49 m/sec or 176 km/h) but with a longitudinal tape speed of only 15 in./sec (0.38 m/sec). In this way, acceptable picture quality was obtained with an acceptable tape consumption. Following a public demonstration on 14 April 1956, commercial produc-tion of studio-quality machines began to revolutionize the production and distribution of TV programmes, and the perfecting of time-base correctors which could stabilize the signal timing to a few nanoseconds made colour VTRs a practical proposition. However, AMPEX did not rest on its laurels and in the face of emerging competition from helical scan machines, where the tracks are laid diagonally on the tape, the company was able to demonstrate its own helical machine in 1957. Another development was the Videofile system, in which 250,000 pages of facsimile could be recorded on a single tape, offering a new means of archiving information. By 1986, quadruplex VTRs were obsolete, but Poniatoff's role in making television recording possible deserves a place in history.Poniatoff was President of AMPEX Corporation until 1955 and then became Chairman of the Board, a position he held until 1970.[br]Further ReadingA.Abrahamson, 1953, "A short history of television recording", Part I, JSMPTE 64:73; 1973, Part II, Journal of the Society of Motion Picture and Television Engineers, 82:188 (provides a fuller background).Audio Biographies, 1961, ed. G.A.Briggs, Wharfedale Wireless Works, pp. 255–61 (contains a few personal details about Poniatoff's escape from Germany to join the Russian Navy).E.Larsen, 1971, A History of Invention.Charles Ginsburg, 1981, "The horse or the cowboy. Getting television on tape", Journal of the Royal Television Society 18:11 (a brief account of the AMPEX VTR story).KF / GB-NBiographical history of technology > Poniatoff, Alexander Mathew
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8 студийное качество изображения
Engineering: television studio picture qualityУниверсальный русско-английский словарь > студийное качество изображения
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9 студийное качество изображения
Русско-английский политехнический словарь > студийное качество изображения
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10 Muybridge, Eadweard
SUBJECT AREA: Photography, film and optics[br]b. 9 April 1830 Kingston upon Thames, Englandd. 8 May 1904 Kingston upon Thames, England[br]English photographer and pioneer of sequence photography of movement.[br]He was born Edward Muggeridge, but later changed his name, taking the Saxon spelling of his first name and altering his surname, first to Muygridge and then to Muybridge. He emigrated to America in 1851, working in New York in bookbinding and selling as a commission agent for the London Printing and Publishing Company. Through contact with a New York daguerreotypist, Silas T.Selleck, he acquired an interest in photography that developed after his move to California in 1855. On a visit to England in 1860 he learned the wet-collodion process from a friend, Arthur Brown, and acquired the best photographic equipment available in London before returning to America. In 1867, under his trade pseudonym "Helios", he set out to record the scenery of the Far West with his mobile dark-room, christened "The Flying Studio".His reputation as a photographer of the first rank spread, and he was commissioned to record the survey visit of Major-General Henry W.Halleck to Alaska and also to record the territory through which the Central Pacific Railroad was being constructed. Perhaps because of this latter project, he was approached by the President of the Central Pacific, Leland Stanford, to attempt to photograph a horse trotting at speed. There was a long-standing controversy among racing men as to whether a trotting horse had all four hooves off the ground at any point; Stanford felt that it did, and hoped than an "instantaneous" photograph would settle the matter once and for all. In May 1872 Muybridge photographed the horse "Occident", but without any great success because the current wet-collodion process normally required many seconds, even in a good light, for a good result. In April 1873 he managed to produce some better negatives, in which a recognizable silhouette of the horse showed all four feet above the ground at the same time.Soon after, Muybridge left his young wife, Flora, in San Francisco to go with the army sent to put down the revolt of the Modoc Indians. While he was busy photographing the scenery and the combatants, his wife had an affair with a Major Harry Larkyns. On his return, finding his wife pregnant, he had several confrontations with Larkyns, which culminated in his shooting him dead. At his trial for murder, in February 1875, Muybridge was acquitted by the jury on the grounds of justifiable homicide; he left soon after on a long trip to South America.He again took up his photographic work when he returned to North America and Stanford asked him to take up the action-photography project once more. Using a new shutter design he had developed while on his trip south, and which would operate in as little as 1/1,000 of a second, he obtained more detailed pictures of "Occident" in July 1877. He then devised a new scheme, which Stanford sponsored at his farm at Palo Alto. A 50 ft (15 m) long shed was constructed, containing twelve cameras side by side, and a white background marked off with vertical, numbered lines was set up. Each camera was fitted with Muybridge's highspeed shutter, which was released by an electromagnetic catch. Thin threads stretched across the track were broken by the horse as it moved along, closing spring electrical contacts which released each shutter in turn. Thus, in about half a second, twelve photographs were obtained that showed all the phases of the movement.Although the pictures were still little more than silhouettes, they were very sharp, and sequences published in scientific and photographic journals throughout the world excited considerable attention. By replacing the threads with an electrical commutator device, which allowed the release of the shutters at precise intervals, Muybridge was able to take series of actions by other animals and humans. From 1880 he lectured in America and Europe, projecting his results in motion on the screen with his Zoopraxiscope projector. In August 1883 he received a grant of $40,000 from the University of Pennsylvania to carry on his work there. Using the vastly improved gelatine dry-plate process and new, improved multiple-camera apparatus, during 1884 and 1885 he produced over 100,000 photographs, of which 20,000 were reproduced in Animal Locomotion in 1887. The subjects were animals of all kinds, and human figures, mostly nude, in a wide range of activities. The quality of the photographs was extremely good, and the publication attracted considerable attention and praise.Muybridge returned to England in 1894; his last publications were Animals in Motion (1899) and The Human Figure in Motion (1901). His influence on the world of art was enormous, over-turning the conventional representations of action hitherto used by artists. His work in pioneering the use of sequence photography led to the science of chronophotography developed by Marey and others, and stimulated many inventors, notably Thomas Edison to work which led to the introduction of cinematography in the 1890s.[br]Bibliography1887, Animal Locomotion, Philadelphia.1893, Descriptive Zoopraxography, Pennsylvania. 1899, Animals in Motion, London.1901, The Human Figure in Motion, London.Further Reading1973, Eadweard Muybridge: The Stanford Years, Stanford.G.Hendricks, 1975, Muybridge: The Father of the Motion Picture, New York. R.Haas, 1976, Muybridge: Man in Motion, California.B.Coe, 1992, Muybridge and the Chromophoto-graphers, London.BC
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